Jude Dry

In three vaguely indistinguishable episodes, the Netflix docuseries “Naomi Osaka” offers a small window into the young champion’s world.

In its second season, “Love, Victor” delivers more of the charming, quirky characters and tender teen romances that gave it such a strong start.

“Feel Good” accomplishes so much in its tight six episodes that it’s both a blessing and curse that it leaves the viewer wanting more. ... It’s so damn good you may want to watch it all over again.

Those who found the melodrama a bit over the top in earlier seasons will find no respite in the finale. “Pose” is what it is: A flashy, high-budget, first-of-its-kind, Ryan Murphy-produced soap opera about trans women of color.

Unlike its wily subjects, “Generation Hustle” provides just enough to get you interested, but not enough to hook you.

Toggling between horny and clueless, the characters on “Genera+ion” feel less like 20-somethings than the pervs of “Euphoria” and less wholesome than the ones on “Sex Education.” Unfortunately, it’s everything that happens in between that’s a bit of a confused mess.

Her trans-ness is explored with tender nuance; carefully extricated from the more complicated parts of her story and contextualized in trans history. While not the whole story, this is one of the reasons “The Lady and the Dale” is essential viewing.

Unfortunately, “A Suitable Boy” lacks the comedic touch of “Downton Abbey” or the critical lens of “The Crown,” languishing somewhere in the middle and coming up short. Without a defined perspective on the class and religious conflict it uses as a narrative backdrop, “A Suitable Boy” feels like frothy fluff — yummy in the moment but easily forgettable and won’t fill you up.

The elevated aesthetics of skate vids permeate “Betty,” elevated by the saturated hues of a sweaty New York summer and technicolor scenester fashion. The perfectly curated music choices add to overall alluring vibe of the show. It’s unfortunate that “Betty” is mostly style over substance, especially when the style is this valid.

The result is a dizzying mish-mosh of half-baked stories that is light on meaningful character development and long on tired cliches about people of color.

“Baroness Von Sketch Show,” with its exact writing, zany performances, and feminist satire, is a welcome breath of fresh air.

Ultimately, the shoddy storytelling does a great disservice to the women so bravely sharing their trauma on camera. “Filthy Rich” somehow manages to spreads itself too thin while also offering very little in the way of new information.

While the parameters are a little thin so far; the dancing is — shall we say — everything. The looks, the moves, the face, the music; these are things you didn’t know the human body could do, much less five of them in sync.

The haters are right — it’s nothing like traditional comedy. It’s art.

“Hightown” is an uneven mash-up of incongruous themes, a veritable grab bag of provocations that may have felt edgy 20 years ago. That may have been forgivable if the plot was halfway intriguing, but the twists are about as surprising as a drag queen in P-town.

The third season, while enjoyable, feels like a bookend on a story that wasn’t ready to end. Even though it ends with a slightly forced button, “Vida” is never buttoned up.

Hilariously crafted, thrillingly paced, and brimming with the kind of raw honesty rarely found on TV, “Feel Good” will certainly make you feel, if not necessarily good, then something refreshingly real.

The family drama and central characters are compelling enough, but “Gentefied” really struts its stuff in two bottle episodes. These standalone episodes are a remnant of the web series, which told each episode through the eyes of seven different characters.

While certain vignettes will always resonate more than others, early episodes of Season 4 prove that creators Ben Sinclair and Katja Blichfeld still have plenty of stories to tell — some of them downright transcendent.

“Sex Education” imagines a more colorful, more livable, and more loving world. Even if it wasn’t also hilarious, charming, and chock full of heart, that would be reason enough to love it.

By trying to make itself young, hip, and “politically correct,” “The L Word: Generation Q” has highlighted the original series’ flaws (too white, too cis, too femme) as well as its strengths (we loved the characters anyway).

In the four half-hour episodes provided to critics, “Work in Progress” sensitively mines comedy from body shame, mental illness, trans literacy, consent, and gender policing — all through Abby’s hilariously neurotic point of view.